Beats News

3 Vinyle in bedruckten Innentaschen in extra breitem Cover-Sleeve, inkl. Dowbload-Code.

3 Vinyle In Bedruckten Innentaschen In Extra Breitem Cover-sleeve, Inkl. Dowbload-code.

3 Vinyle in bedruckten Innentaschen in extra breitem Cover-Sleeve, inkl. Dowbload-Code.

KARL is excited to welcome a new artist on board: R.A.N. is the dark electronic / rhythmic ambient music project by HÜMA UTKU. "Seb-i Yelda" is available as 12" and download.

Hailing from Istanbul and based in Berlin for a couple of years now, HÜMA UTKU has been a prolific artist lately:as R.A.N. (Roads At Night) she released her debut album''Her Trembling Ceased'',followed by the remix album 'Remixed: Stories Retold' (both 2015, PARTAPART RECORDS), and contributed several tracks and remixes to various compilations. Besides studio production, she travels the planet to perform live or as DJ, and in November / December 2017 UTKU was Artist in Residency at YARA MEKAWEI'sSubmarine Studio, Cairo.

The title of her debut on KARL, "Seb-i Yelda" (pronounced Shab-e Yalda in English), is a Persian term that signifies 'the longest night'. Inspired by the Ottoman poet BOSNIAN SABIT EFENDI's verses,R.A.N. created four new, very personal tracks, developing further her musical language by fusing traditional instruments with deep electronic sounds, distortion and dark ambience, in order tocreate intense atmospheres of anger, anxiety, grief - but also empowerment and hope. These compositions are UTKU's personal reflections on the long lasting devastation and turmoil in the Middle East as well as witnessing the individual experiences related to these happenings. The titles translate as:'"Seb-i Yelda" (The Longest Night), "Ay" (The Moon), "Sabah" (The Morning) and "Kul" (The Servant of God).

elected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot on the heels of Traverse´e Du Fantasme at the Stedelijk in Amsterdam, Hennix's first solo museum exhibition in over 40 years, and coincides with both Blank Forms' publication of Poe¨sy Matters and Other Matters, a two-vol- ume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix's visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix's own music has been given a full-length vinyl issue.

In 1976 Catherine Christer Hennix's just intonation live-electronic ensemble The Deontic Miracle performed Hennix's orig- inal compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the 10-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. 'Mode nouvelle des modalite´s,' for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix's formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley's synthesized reveries. 'Equal Temperament Fender Mix,' performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more sombre, hallucinatory means. Hennix is joined by Hans Isgren for the collection's centerpiece, 'The Well-Tuned Marimba,' for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix's The Electric Harpsichord, but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion's status as 'THE obscure masterpiece of the days of the early American minimalism'. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Tape transfer and mastercut by Andreas [LUPO] Lubich. Audio restoration and mastering by Stephan Mathieu.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm's pioneering Elektronmusikstu- dion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the bur- geoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky's invita- tion) at MIT's Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer. A two-volume collection of her writing is forthcoming from Blank Forms.

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries reissue the 4th full-length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

By 1988 Carolyn's recording gear had many changes and upgrades, from cassette 4-tracks, 8-track reel-to-reel 1/2 inch, a TASCAM 388 to DAT, to floppy disk sampling. She spent three to four nights a week developing sequences for 14 hours from 10pm onwards. Samples would sometimes begin on a Synclavier keyboard with its sophisticated sequencing capabilities. Her fourth album, 'To Subtle-Drive', was self-released in 1988 as 8 untitled songs spread across a 30-minute cassette. Then in 1989 Carolyn discovered the first Digidesign digital recording software and changed the project to have more ethnic sounds and samples stemming from tapes collected during a trip to Egypt. In 1990 'To Subtle-Drive' was re-released with 2 songs from the 1988 release and 4 new compositions. This reissue adds 5 bonus tracks recorded during the same period spread across a double LP set. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios. "Old-soul beat tracks on cassette with time and techno-guilotine songs."

Following his 2016 debut tape, 'A Revolution in Customer Service', Scottish producer Object Agency returns to Kit with his first LP proper, 'Abaa Cove'.

Where 'ARICS', hovered in a cloud of viola-fuelled static, 'Cove' kicks off with an alarmingly crisp KLANG. This is bell-clear, defiantly positive dance music; the sound of a data farm coolly exploring every corner of itself, laughing, lifting free of its moorings and floating into space. Recommended for fans of YMO, Craig Leon, Beatrice Dillon

Exiting Cuts!
Produced by Earthly & R. Mexico
Artwork by Finn Hansen and Earthly ~ Liner notes by Travis Swinford
Mixed & Mastered by R. Mexico

Thanks to our Moms, Dads, Grandmoms, Finn, Laura, Holly, Isabel, Ben, Brad, Clark, Dane, Dylan, Max, Matt, Katie, Redeye, Night-light, Mook and Ruby

Form A Log / Moth Cock split LP. Packaged with insert. First edition of 300 copies. Mastered by Patrick Klem and manufactured at Gotta Groove. Artwork by Sam Nigrosh (Grasshopper, Potions, Oozing Wound)


Includes unlimited streaming of Form A Log / Moth Cock - split LP via the free Bandcamp app, plus high-quality download in MP3, FLAC and more

Form A Log is: Noah Anthony, Ren Schofield, & Rick Weaver
Moth Cock is: Doug Gent & Pat Modugno
Artwork by Sam Nigrosh
Mastered by Patrick Klem

NNA is honoured to be releasing the latest full-length solo recording from Anthony Child, UK electronic music legend perhaps best known for his forward-thinking techno production as Surgeon. A native of Northamptonshire England, Child has been at the helm as a DJ, writer, and producer of electronic music for nearly 20 years, creating works for reputable labels such as Counterbalance, Tresor, and Downwards. Aside from dancefloor-commanding techno, Anthony has also been creating a private collection of tone-based experimental works over the years, much of which have become the backbone for his latest solo album. 'The Space Between People And Things' finds Child revisiting his collection of unreleased experimental studies from the last 16 years, collaging them into an entirely new framework. Using a sound palette reminiscent to his techno works, Child focuses in on the molecules within the sonic textures and frequencies, delicately emphasizing the negative space that surrounds them. These sounds are then intensified to form vast new worlds, enveloping the listener with bright, crystalline detail and clarity. These two side-long pieces seem to exist and not exist simultaneously, filling the listening space as an almost physical presence, to a point where they blend harmoniously with the air that surrounds you. The brainchild of intense focus and exploration, this record serves as an artifact that gives the listener a very personal glimpse into the mind of one of electronic music's most creative producers. According to Child himself, this record 'consists of location recordings, tonal experiments, and thought-forms from many different positions in space and time. It is the sound of the space between people and things.'

Der britische Musiker Ben Chatwin lebt zur Zeit in Schottland.
Er hat bereits mehrere Alben unter seinem eigenen Namen ( Heat & Entropy, Staccato Signals, The Sleeper Awakes) und einige unter dem Pseudonym Talvihorros bei Plattenfirmen wie
Denovali Records, Ba Da Bing!, Benbecula Records, Hibernate Records veröffentlicht. Er bewegt sich in den Genres Noise, Drone, Ambient, Experimentelle Musik und Glitch. Für sein neues Album Drone Signals arbeitet er erneut mit Village Green Recordings zusammen. Seine Post-Apokalyptischen Soundlandschaften basieren auf Synthesizern, die mit
Streicherparts gefüttert werden, modernen Samples und mikroskopischen elektronischen Texturen. Diesmal ist die Palette etwas breiter gefasst, statischer und mehr mit monumentalen
Strukturen als mit scharfen Kanten beschäftigt.

1. Sequel 03:26
2. Night Terror 04:12
3. Another Dollar 03:34
4. August One 03:17
5. Rose 04:52
6. A Thing Or Two 03:09
7. We're All Going To Die 04:00
8. Insideout 03:51
9. You're An Odd One 02:59
10. Axel Take 2 04:04
11. S Is For Cyanide 04:54

To hit play on D33J's long-awaited debut album is to tumble headlong into a rich sonic universe of captivating improbabilities. Where narcotic house music slow-pulses alongside deconstructed futuristic R&B and lush ambient dreamscapes. Where an astoundingly 3-D aural depth of field radiates with incredible intimacy. Where digital means of production are usurped by guitar play, analog synth, field recordings, or tape edits. Where experimentalism and accessibility aren't the least bit mutually exclusive. Perhaps that's why the taste-making Los Angeles producer and DJ named the project after a thing that doesn't, shouldn't, and couldn't exist: Death Valley Oasis.

We'd expect nothing less from D33J, who racks up plaudits whether he's rocking sweaty gigs with his Wedidit crewmates, producing blissed out rap tracks for Lil Yachty's albums and mixtapes, or composing solo songs that instantly immerse us in an ever-shifting grid of odd rhythms and melodies. It's all par for the course for someone who grew up in the hyper-cultural melting pot of Mid-City L.A., raised by a Rio-native father who promotes Brazilian cultural events and an East L.A.-born mother who, among other artistic ventures, designs elaborate Día de los Muertos coronas. The young Djavan Santos attended the city's esteemed (yet public) Hamilton High magnet school, joining the music program by falsely claiming he knew how to play guitar. But after taking a rare-for-its-time electronic music class, his talent became obvious. While there D33J not only met future tourmate and Death Valley Oasis collaborator Baths (see the beautiful four-four thumper "Wisp"), but played in bands with the surf-punkers who'd found FIDLAR, plus loaned his sweater to Odd Future's Syd in biology that one time. His path to now has never not been strange and fascinating, with stops at the San Francisco Art Institute for a degree in audio-visual design (which he plans to put to use on tour), and Hamburg for a two-month warehouse residency crafting tech-heavy interactive art installations, all while developing a peerless sound.

Death Valley Oasis came together over the last three years, each track slowly accreting the bits that'd make it whole while D33J worked from Wedidit's L.A. studio. Producing for others (Yachty, Tory Lanez, Killavesi, Purple) delayed things, sure, but it also honed his mastery as an engineer and instinct for the line where left field meets listenable. The end result, this album, contains no filler but there are standout moments: like Anticon labelmate and Dirty Projectors alumna Angel Deradoorian channelling her inner Destiny's Child on the jittery "Spark", or D33J taking a rare turn on the mic to wax druggily romantic on "Plateau," or the eerie Burial-like gloom-bomb that is "Dead Sea," or "Rot," a teamup with Shlohmo (who also provides the LP artwork) and soul man Corbin (a.k.a. Spooky Black) that opens on acoustic strum and reinvents the "quiet storm" genre before closing with something akin to death metal pounded out on an MPC. Again: a would-be oxymoron that actually plays as raw genius. Death Valley Oasis isn't just another entry in D33J's book of "Emotional Dance Music," as he once coined, it's the definitive tome and a paragon of what can be accomplished when a blatant disregard for musical boundaries is matched with ace technical ability and endless tangible heart. This is one to get lost in — the desert and the slake.

Bringing electronic music to the physical realm, genre-bending drummer Ian Chang is set to release his debut EP 'Spiritual Leader' this September via Kowloon Records. An acclaimed drumming virtuoso known for his work in Son Lux and Landlady, Chang uses his kit to control and manipulate samples resulting in a seamless synthesis of raw performative intensity and sophisticated sound design. The process began in 2015 when Chang was beta-testing Sunhouse's Sensory Percussion, culminating in a psychedelic light show of a video and track entitled 'Spiritual Leader.' Since then, Chang has honed his creative voice in gearing up to release his debut with Kowloon Records. The EP explores the relationship between human and machine, exuding an intuitive physicality meshing off-kilter rhythmic ideas with hypnotic textures and exploring the edges of IDM, ambient, free jazz, and much more with futuristic creative abandon.

'In recent years I have been researching old Japanese culture and customs in order to deepen my musical production. I found that, countless times, we still don't see through it as a whole. I am still excited to find that there are many untouched roots yet to be discovered which only motivates me to pursuit my research further.
As I dig deeper, I'm always struck with the general idea that 'everything has its own ground', otherwise known as rigid ideas and concepts.

Indeed, it is important to have a clear ground to explore things from. Especially as our times are overloaded with too much information, things which are spoon fed to us will always be short lived, so for me it becomes a case of those rigid ideas becoming less flexible.

One of the many benefits of computer music is being able to separate it from history/traditions and allowing you to simply enjoy mixing sounds and concepts, regardless of its original meaning. By being free from 'having to' make sense we can make creation much more enjoyable.

When I made this album I put my priority in freedom, rather than being stuck with those rigid ideas and concepts. This way I could really enjoy and get deep into the 'mixology' of it all.
Like my other works, Japanese is always a fundamental motif and I envision it like an imaginary radio drama by adding spontaneous dialogs throughout.

I will be happy if listeners pay attention to these (and other) details and enjoy listening to my work.''
- Sugai Ken, 2018

Tasos Stamou presents his most recent electroacoustic music project 'Musique con Crète'.

The project is the result of a three-year creative research project across Crete (GR). Starting with an artist residency the musician visited the Greek island over the course of three summers, collecting field recordings, performing with local musicians, producing electronic compositions and gathering old records and tapes of traditional music of the region. The project resulted in the assembling of a unique sound collage which reflects his personal experience as a music visitor to this part of the Mediterranean with one of the richest ancient history and living traditions.

Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a 'portable electroacoustic music studio'. His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. He has collaborated in recording and performing projects with a wide range of free improvisers and sound experimentalists (Adam Bohman, Steve Beresford, Sharon Gal, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.).

UVB-76 Music's latest offering ushers in new blood to the camp in the form of Stave. The Chicago resident's 'ATK' EP sees the tempo submerge to lower depths and the pressure intensify amidst the harsh dynamics and sonic battery that the label is now synonymous for. A four track rhythmic cavort that plays the urge to dance and the allure of subversive nature. plays on*

Following the release of his collaborative EP with Arovane on Apollo Records, Synkro is proud to present the first release on his own label Synkro Musik. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Luminous' sees him shift his musical focus back towards the Autonomic / ambient drum & bass sound of his early works for Apollo & Exit Records, backed with a killer remix from drumfunk legend & good friend Dev Paradox.

Going Good's 13th release is finally upon us and we are quietly confident that it is indeed a truly special one. This is London duo Weird Weather's second sonic offering and already their stepping left-field sounds are pricking up all the right ears. Contained within are some heavyweight signals transmitted live and direct from the capitol's infamous MAP Studios, giving us a heady blend of Shaka inspired sound-system meditations, early 90's FAX reflections and spirit invoking downtempo meanderings. Weight for the bass.

First taste of the upcoming Tempo Dreams Vol. 5 album, compiled by LA based beatmaker Free The Robots. Coming in with a seperate vibe all it's own, the 7" features the exclusive track "Nasi Goreng", a lo-fi psychdelic beat heavy romp through South East Asia, complete with Gamelan vibes. On the flip, "Marano" is a downtempo ultra bass heavy joint with sparse production, vocal chops and swirling synths.

Domino introduce 'Devotion', the hugely
anticipated debut album from one of London's
most exciting underground talents, Tirzah.
Arriving on the back of a lauded run of releases on
Greco Roman, 'Devotion' shines a brilliant new
light on Tirzah's unique experimental pop,
exquisitely soulful voice and potent contemporary
lyricism.
Written and produced in collaboration with
longtime friend and collaborator Micachu,
'Devotion''s hallmarks are rooted in a fresh, raw
emotion and feeling.
CD and heavyweight black vinyl with digital
download code.

4 Tracks Carefully Selected From Ernst Thoma 80's Private Catalogue, Including "winterspiel" (projectos & Progestos Coimbra), A 1981 Portugal Performance In Collaboration With Peter Trachsel . Mr. Thoma Having Fun With Commodore Sx 64, C-lab Sequenzer, Oberheim Xpander, Tms Synthesizer & Polyphon And Serge Modular Music System.

Sacred Grove Is An Artist Collective Based Out Of Malmö Sweden.

Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982.


While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the "pop" concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.


Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic '70s style.


"I pressed a single run of 500 copies," Bender recounts. "The only review I remember railed at the poor production quality. The DIY era had clearly come to an end."


This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

12 Vinyle in jweils bedruckten Innentaschen (weiß mit schwarzer Heißfolienprägung) im zweiteiligen Hardcover-Schuber (weiß mit schwarzer Heißfolienprägung), inkl. Download-Code.

3 Vinyle In Bedruckten Innentaschen In Extra Breitem Cover-sleeve, Inkl. Dowbload-code.

The Four Tracks Composing All My Time Reveal A Unique Bird's-eye Perspective Over The Contemporary Pop Landscape, With Its Ambiguities And Fictional Public. By Developing A Personal Approach In The Bosom Of A Universal Notation, Mechatok Informs Naturally His Compositions With A Deep, Emotional Insight. Ornate But Undisposable, All My Time Glides Through The Skies Of Today's Music With A Rejuvenating Melody. Limited Edition Vinyl. Includes Dl Card.Timur Tokdemir Aka Mechatok Hails From Munich But Now Calls Berlin His Home. With His 2016 Debut 'see Thru' Ep On Staycore The Young Producer Exhibited A Rare Gift Of Honing A Distinct And Unique Style At Quite A Young Age. The Title Song Was Accompanied By A Captivating Videoclip Shot By Benjy Keating On The Stairs Of Athens' Panathenaic Stadium, Able To Reflect Both The Wide Scope And The Intimacy That Defined The Compositions. Mechatok Also Attracted Attention Thanks To The Single 'still Life' (co-produced By Toxe) Which Scored The Kenzo Fw 2016 Prints Presentation. The Allure Of Mechatok's Compositions Can Be Partly Traced Back To The Fact That He's A Classically Trained Guitarist, But A Distinct Expertise Can Also Be Recognized In His Dj Sets, Where He Instinctively Juggles Melodic Pieces With Club And Pop Music, Conveying Feels From Vulnerability To Bliss. In His Mixes For Dazed And Mixmag, Mechatok Tells Stories Of Melancholy, Always Radiating With A Moving Energy. Mechatok Has Also Shown His Face As A Top-notch Pop Producer, By Providing The Instrumental For Uli K And Yung Lean's "schemin" Or By Remixing Sinead Harnett's "rather Be With You" Or Mr Mitch And Palmistry's "vpn", Which Got Recently Published On Planet Mu.

2nd Album By Turkish Free Jazzers Konstrukt And The Japanese Avant-garde / Noise Icon Keiji Haino, This Time Recorded Live In Concert.

Celebrating Their 10th Anniversary These Days, Konstrukt Have Since Been Creating An Impressive Catalogue Including Collaborations / Performances With Significant Musicians Like Peter Brötzmann, Joe Mcphee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth Or Alexander Hawkins That Gained Them An Ever Growing Audience And Media Attention (e.g. A Recent Wire Feature), And They Keep Exploring New Grounds. Like In 2016 When Konstrukt Invited Keiji Haino To Their Home Town Istanbul For A Recording Session That Resulted In A Quite Unique Album: "a Philosophy Warping, Little By Little That Way Lies A Quagmire" Offered - Besides All The Elements You May Well Expect From Such A Musical Meeting Like Konstrukt's "acerbic Razor-edged Sound" (mark Corroto, Allaboutjazz) And Haino's Unmistakable Voice / Guitar Explosions - Some Actual Surprises Like The Really Groovy Opening Track With A Funky Feel And A Kind Of 70's Fusion Style Album Closer. Two Days Later The Free Jazz Quartet And The Japanese Avant-garde Icon Continued Their Adventure With A Public Performance At Saloniksy, Pushing Things Further And Raising The Level Of Energy And Rawness. Carrying The Same Title ""a Philosophy Warping, Little By Little That Way Lies A Quagmire" Proves A Condign Sister Release To Their Previous Studio Effort. Or, As The Famous Asian Phrase Goes: "same Same But Different!"

3 in the PERIKLAS series comes from NICOLAS WIESE, a Berlin based electronic and audio-visual artist. "Unrelated" is available as handnumbered lim.ed. clear vinyl LP in silk-screened sleeve and download.

Born 1976, NICOLAS WIESE studied design, illustration sound art, philosophy and sociology and has since been working on various fields: his (audio-)visual art has been presented in galleries and at exhibitions in Teheran, Gent, London, Vienna, St. Louis, Istanbul, Madrid a.o. As musician / composer, he released a number of solo and collaborative albums under the [-Hyph-] moniker and his civilian name on labels like WALTER ULBRICHT SCHALLFOLIEN or CORVO RECORDS. WIESE's latest effort "Unrelated" contains seven new pieces, constructed from sonic elements of various compositions, audiovisual works, fragments, remixes and experiments from a time span of 6 years, drawn from different contexts and a wide range of international musicians and collaborators. WIESE's trademark working method is to combine complex sample-based layers with modulated feedback which is triggered by the samples, their overtones and harmonic properties. This playing technique, using the mixing board as a feedback-instrument, adds a special live feel to the meticulous musique concrète constructions based on the original acoustic source material.

Rich in details, "Unrelated" is a vital proof of WIESE's artistic skills and a highly entertaining concern, melting electro-acoustic, musique concrète and sampledelia!

Christopher Chaplin returns with a new solo album featuring voices and vocals by renown musician, poet and artist Leslie Winer and Nathan Vale , the British classical tenor vocalist. The longplayer translates John Milton's poem about the descent to hell of fallen angels into epic soundscapes!

"Paradise Lost' is the second album by London-based musician and composer Christopher James Chaplin. Following 'Je suis le Ténébreux' (2016), 'Paradise Lost' condenses experimental electronics into a chamber music setting, once again transporting us to intermediate mental and spatiotemporal states. This album features the voices of Nathan Vale and Leslie Winer. Vale is a British tenor and reciter, who specializes in baroque singing. The US musician, poet and artist Winer is almost his counterpart: Jean-Paul Gaultier described her as the first androgynous model, and she has worked with Sinéad O'Connor, Grace Jones and Helmut Lang, among others. Whereas 'Je suis le Ténébreux' was an artistic interpretation of Gérard de Nerval's poem of the same name, and of the 'Enigma of Bologna', Christopher Chaplin's new album translates John Milton's poem about the descent to hell of fallen angels into epic soundscapes. Nothing is clearly structured - instead we find ourselves in a dreamlike state of limbo. Moments of turbulence transform into musical states that collapse, roam through space, or grow into complex structures. It is a music of dark shimmering poetry that thrives on its own ambiguity'

Remarkable Explorative Techno Cuts.

Mika Visited The Moog Sound-lab In April 2015. He Made One His Last Known Solo Studio Recordings In The Form Of Two Vinyl Sized Side Long Pieces. Entitled lydspor' - Danish For 'soundtrack'. Mika Worked Almost Exclusively With The Lab's Moog Modular System 55. This Uk Sound -lab Instrument Is The Sole Protoype Model (containing Several Golden Filters) Of Moog's Recent Sold Out Reverse-engineered Edition (55 Units Only) Recreating The 1970's Classic. On Completion Of His Sessions Mika Announced 'i Could Work With This Machine For The Rest Of My Life....i Would Need Nothing Else'. A Second Moog Session Was Planned But Tragically Mika Died In An Accident In April 2017, Shortly After He Had Approved The Vinyl Mastering.

After last year's first record with Serenus Zeitblom Oktett, Berlin's Hyperdelia comes back with a second release - a lucid underwater music composed and arranged by Swedish composer Kajsa Lindgren.

»WOMB« is a musical narration for abstracted ears and bodies - engulfing a listener simultaneously in subaquatic sonic environments, distant dreams, memories and voices from the unknown: where time and space fold into each other.

The initial material of field-recordings, interviews and compositions has been re-recorded and re-amped underwater in a swimming pool - and has been re-arranged now for stereo home listening. It's like we've travelled from the outer space fantasies into the alien underworlds to surface in your homely headspace.

»WOMB« at times resembles Gustav Mahler's distant rememberings, dramatised by Björk, in other moments the sounds become tiny and intimate, when »WOMB« makes one think of Felicia Atkinson's music, while the environmental ambiences reminisce the static music of Kevin Drumm. The delicate layerings of field recordings, re-recordings and environments makes »WOMB« a fascinating phonopoetic fiction, that conjures its own surreal virtual ecology: of distant strings, filtered through hydrophones (on cocoon), deep sea creatures singing to a de-tuned toy piano (the garden), of folk songs sung through telephone hiss (on all the other children), of waves crashing at the sea shores of Narnia (the inanimate world pt. 2).

Kajsa Lindgren is a composer educated in both western contemporary music and electroacoustic composition, based in Stockholm.

Kajsa explores different sonic relationships within specific environments in both sound art and electroacoustics, her work focuses on field recording with which she sonically investigates ecologies and eco systems. These works become musical research studies of underwater worlds or of public spaces in the city. Kajsa has studied electroacoustic composition at the Royal College of Music in Stockholm.

»WOMB« is Kajsa's first full length record. There will be an underwater release concert in Stockholm, at Storkyrkobadet on 2 June, a virtual reality installation online, followed by a digital EP of remixes of the original material.

øjeRum is a Danish artist who focusses on collages and on ambient music, using the same approach by bringing different elements together to create a conclusive new piece of art. The album Selv I Drømme Lyser Den Første Sne' combines those two artistic approaches and the result is a beautiful album with a collage artwork by øjeRum and a 20minutes long ambient track in two variations.

Selv I Drømme Lyser Den Første Sne' is Danish and means Even In Dreams The First Snow Glows'. Side A features a 20minutes long ambient track, which evolves out of short loops that model themselves into a floating, waving and mesmerizing soundwall. Side B features a different version of the track, formed of the same melodies like on side A, but this time played on cello by Aaron Martin. øjeRum arranged the cello parts, like using his own ambient loops. The result is a cello based track with also evolving sounds that seem to change during the track. You also get the idea of vocals or other instruments, but it´s just the looped cello themes.

Bonus Digital Track: Selv I Drømme Lyser Den Første Sne (Dual Version). This version brings both tracks together into one and shows a new perspective. This track is only available with the download code, that is included in every vinyl order.

There are experimental musicians that know how to well craft the best of pop music, and there are pop musicians that know how to experiment at upper echelons of instinct. Samara Lubelski is both of these musicians in

one. It may be a bold statement, but yes, it is true, every word.Her breadth of experience in both of the otherworldly sides of these spheres grants her an enlightened gift in song writing. It is elegant and transporting,

and it coalesces in that golden new age of purple and orange psychic pop music that ducks its head into the present realm from time to time. Flickers at the Station' is an album that showcases Lubelski at a creative apex. Beautiful and

breathtaking, it is a forever keeper of a baroque pop record. Its late evening music. Its early morning revelation music. Its a glorious day unto itself. The pure connection between Lubelskis outr improv and instrumentation and her

poppsychic songwriting is in complete harmony.

originally released in 1993 - with Ric Ocasek & Liz Lamere-Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

Zelectro breakcore ambiences. The sound is bad, but the music is good. DHR Style !

Mating Surfaces ist das zweite Album von den Lithics aus Portland, Oregon.
Es umfasst 12 straff aufgezogene Songs mit abstrakten, gleichlaufenden Gitarren, treibenden Rythmen und beinahe absurden, bildhaften Texten .
"A stern danceable sound that summons cut up snapshots of Su Tissue and Mark E Smith, an imagined landscape where Captain Beefheart hits that 99 Records Too Many Creeps beat." -Layla
Gibbon (Maximum Rocknroll, Skinned Teen).

Collaboration Project Of Jochen Arbeit, Guitarrist Of Einstürzende Neubauten And Experimental Post-punk Band Die Haut, With Huan (viktor Lux Crux, Mastermind Behind Ordre Etern, Qa'a And Sporadic Collaborator Of Nurse With Wound).

Armed With Guitars And Drum Machines They Move Between Epic Ascendent Passages, Ambient, Walls Of Noise And No-wave Dissonance To Create A New Germanic-catalan Psychedelia.

"arbeit & Huan's Collaboration Feels Purposeful, Departing From The Merely Ambient & Moodscaping, Sustaining Interest By Providing Variety & Detail Of Timbre, Range, Development, Motif & Dynamics.... "